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63 Responses to “Images from Bhaag Milkha Bhaag (updated)”
Seems Photoshop Job….. everything same except Head part
Heroine is Sonam Kapoor- not sure about the music- but more than Mehra it is going to be a test for Farhan the serious actor.
I’m looking forward to this- eve thing I have heard about it so far is very promising.
Thanx for the info amy
Sonam maybe ok here actually
She has to do more than being just photogenic though
Dont mind SEL here
Rahman sometimes can have his own ‘baggage’ for makers
The choice of SEL tells that perhaps farhan is doing more than just acting
Agree with satyams points on Mehra
Felt like beating hin with a stick in seeing the ethereal ‘Rehna tu’ on an obese rishi kapoor leaning on a pool table ( tummy hanging !!!)
Was that a sadistic scene in the name of narrative
Incidentally my favorite Mehra film is neither Delhi 6 nor RDB
But Aks (by far….)
The problems there were still not enuf to dilute the overall I
Know others like satyam may not share my liking here but—
Bachchan and bajpais some scenes
And jumping off that cliff were simply brilliant
At times things got repetitive beyond the point but rarely has bachchan liked more elegant than here as manu
The angle with the young Bengali actress forgetting her name was peculiarly nice
‘Banda bindaas hai’-simply loved the way he pulled it off
alex, how could u forget her name,she is the brilliant nandita das. yes, aks was one of bachchan’s best performance in the last decade or so. incidentally it’s my fav performance of bajpai. it was easily the most technically superior film of its time. there were obvious inspirations from denzel washington’s ‘fallen’. and bachchan mouthing the dialouge in that raspy tone-“na koi marta hai, na koi maarta hai” was amazing. was also one of anu malik’s best work- especially liked the picturisation of ‘yeh raat’
Looking at all of his work so far I suspect that Mehra will more often be a film-maker who misses the box office or who at least has a mixed record at best. It’s too ‘easy’ to say he has flashes of brilliance. The real deal with him is that he often follows his logic to the end which makes for messy narratives or experimental ones, depending on one’s perspective. My own sense here is that I can certainly spot problems in Aks or D6 but I find these more ‘interesting’ than the narratively better realized RDB. I would even go so far as to say that sometimes I can even agree that the film is a ‘disastre’ of the glorious kind. and I’d rather have these than the usual insipid stuff. Of course these things also depend on contexts. Much that one generation finds disastrous or unacceptable becomes ‘classic’ for a later age. Too many such examples all over the world. This doesn’t mean that every film that fails in this sense has a chance but that only such a film can be reinvented (in a serious sense) by a later age. Up until the present satellite TV age most people had not even heard of Bachchan’s Parwana let alone seen it. Today it’s one of his cult films. But this happens at every point in the spectrum from more experimental stuff to blockbuster films (where those of one age are not often those of another..). So to reiterate one must get away from the easy ‘it didn’t touch me’, ‘it didn’t connect with me’ kind of response. Not that there’s anything wrong with this but much that is important in art and serious entertainment cannot be accessed with such a response.
Wish I was interested in this but with the subject matter, the lack of a Rahman soundtrack, and the adequate but very uninteresting leading man, this one is going to be an uphill battle. I’m sure Mehra will make a good film but the whole thing is saddled with a “what’s the point?” vibe.
I guess those are my thoughts too but then I am not able to give up on Mehra like that considering his track record(wrt my reading of his work!). But I don’t know much about Milkha’s history and if it is really “worth” a film. Not even sure if that line of thought is okay. And after D6, it’s disappointing that a Mehra film won’t have ARR music. Post 2004-05, no one’s demonstrated the mutual understanding between the director and the music director like Mehra-ARR(am leaving out Rathnam). I guess Imtiaz Ali has come a close second.
It is a bold choice for subject matter and look forward to seeing how Farhan performs in a ‘real’ role but inspite of my lack of familiarity with Milkha’s life story, I doubt if there are going to be enough dramatic opprtunities or blissful moments here. In short, could very well be another KHJJS.
yes this is definitely a KHJJS-like problem (even if Mehra is an infinitely more dynamic filmmaker) where the biopic assumes the iconic stature of the subject for everyone and/or takes on the ‘noble’ task of educating everyone! In an odd way though Farhan and Sonam might get some multiplex audiences interested. Otherwise it will have to be an outstanding work to do anything. But again it’s a mistake to make biopics where the resonance of the subject simply does not exist. and the reason it matters is because when directors do obscure ‘introductory’ biopics, as is the case often in Hollywood, they go at it a completely different way. And maybe Mehra’s doing that here. But even as a fan of his work I am completely uninterested in this subject. In many ways Paan Singh Tomar has stolen up on this film. Didn’t find the latter to be great by any means but it certainly has the more interesting premise. As opposed to the great athlete who ends up stuck in bureaucratic hell, trying to get his pension or whatever, you have a guy who is part of the armed forces, represents the state in exemplary fashion including for his athletics, and who then becomes an outlaw. It’s a very fascinating arc though the film deals with this in a mostly functional manner barring some good atmospherics. It seems to me that this narrative would have been far more up Mehra’s alley than what he is attempting which is basically a traditional ‘moving’ story.
Getting back to Paan Singh I’d have made the lead character more unhinged beyond a point and more of a Gabbar. And this is the fascinating thing about the latter. He’s not just a villain in the usual sense. He has a history which we don’t know about. I’ve read some persuasive pieces on the film regarding the ways in which there is a specific coding to Gabbar’s character. He might be a tribal, a Maoist in political terms, or both.. and so on. Certainly a caste discourse is implied with him at one end and the Thakur at the other. The cutting off of hands is an old and very potent kind of punishment in much of the Northern and Central hinterlands. In effect Gabbar is Raavan (Rathnam’s) before Raavan. Or to do it from the other direction Raavan could become Gabbar if he were allowed to survive! Though the important distinction here is that ‘Seeta’ humanizes him. No one could have done this with Gabbar!
For some reason I think, the media will hype this one up a lot ( sports/ clean/ something people and media men can relate to, and the presence of RDB director and Farhan etc.), and because of that it will get a good opening……
also Tax free exemption is also pretty likely from several states..
Completely agree on your assessment on PST and really I was thinking the exact same thing with respect to Mehra. He really would have done something special with this material, I think…but now he’s got its shadow lingering over a story that sounds far less interesting.
so called khelein hum jee jaan se was neither a patch of orginal song sung by b and also the movie main azad hoon which suddenly got more relevent thanks tom anna hazare movement and ya it to was not a commercial sucess but a pretty fine movie neverthless
rockstar, i have seen both films and they r completely different(have a poster of fight club stuck in my room wit my fav dialogue-‘burn the museum,wipe ur ass with monalisa,this way atleast god will remember your name’).the similarity ends with the fact that in fight club there is a case of dissociative personality disorder whereas in karthik our hero has ‘schizophrenia/split personality disorder(in that way so many films can be similar).also the plots of 2 films have nothing in common whatsoever.
just like personality of eddy norton has been changed in a positive way and later destroyed by brad pitt ( and only later we knew who it was ) similarly personality of karthik was changed and later destroyed by we know who ….
they indianise it some way as now there are harsh copyright law….
‘lack of discipline’- a maverick directors bugbear
“yes this is definitely a KHJJS-like problem (even if Mehra is an infinitely more dynamic filmmaker) where the biopic assumes the iconic stature of the subject for everyone and/or takes on the ‘noble’ task of educating everyone!”
Good point Satyam
Btw Rakesh mehra inspite of his faults remains one of the better talents-in totality, his projects don’t match up but there certainly are sporadic moments
And for me, usually sporadic moments are better than entire heaps of crapitude…
The problem with mehra is not the subject here (as in KHJJS)
His main problem has been a certain ‘lack of discipline’
Anyone who has filmed anything, heck even with a handheld at the most primitive level may understand it
And anyone who has had some experience of ‘good cinema’ or ‘auteur stuff'( even though e proportion or actual exposure may be low) develops a certain ‘ exalted’ position when behind the camera
There is a certain ‘delusional hypomanic state’ manifested in various ways
Now when one is shooting amateurish stuff on holidays or n semitouristic situations in Greece and other islands-it is not bad
But when one starts ‘playing these games’ a the cost of financial responsibility of OTHERS–it becomes a big issue
As mentioned earlier-theres a LOT of distance between the likes of mehra, Akhtar, (won’t include kashyap here since he takes lesser risks& Im biased for him)
And the likes of aamir, hirani and even Imtiaz Ali ( have added the last name only after rockstar)
And this ‘distance’ is less to do with talent or capability but more to do with ‘discipline’
The interest in this subject is not only in terms of the ‘athlete’ & ‘sports’
Milkha was apparently a homeless child and to top it, around partition of India…
Now this has more raw material than slumdong if handled astutely.
I suspect though that mehra won’t go beyond giving some sporadic fine moments in a confused narrative…
Wasn’t happy with the choice of Farhan Akhtar
I saw the ZNMD scene of farhans meeting with naseer!!!
Ps- this film may herald a new ( thinking, multifaceted) star, though with obvious limitations
why is there a “gap” between his moustache and the rest of the beard–
not believing in facial hair myself –so am not an authority (!)
But isnt it more prevalent in moslems
also y does the beard appear to have had a ‘trimming’ and that too in a parlour
Heck–theres a difference even from their own (much better) poster below of farhan/milkha just starting their run–note the difference in facial hair patterns and even the size /tone of ‘biceps’
The newer poster seems more like a bollywoodised take projecting farhan as a mini-salmanesque body and altering all the finer detail that cpatured the actual essence of the central character ie the earthiness and the lack of ‘grooming’
The concept of ‘relevance
dont wanna be ‘critical’ here but this is part of the problem, as i see it!
In yash chopras JTHJ, people try to find plausibility and logic and try to acertain the inner job descriptions of a bomb defuser and so on.
we all are well aware of the world and histroy of yash films…
NOw comes an actual biopic on an actual person who is alive and whose photos are within documentation history…
and made by mehra who seems to be pitching it as a biopic and that too in his own hisotry laced way (read partition etc)
We all know mehras history, style and body of work
And out comes a poster with glaring loopholes in that context
and these ‘auteurs’ go–“what a well made poster” and the biggest autuer of all “agrees’—-makes one wonder really…is it the quality of glossy paper in the poster, or the resolution/pixels they are admiring?
joking folks–just couldnt resist it–the irony is just too much to ignore —
I’ve already addressed why I am willing to suspend disbelief over the ONE SINGLE detail of the buffness of his body (which again, isn’t at all implausible for an Olympic athlete today, even if it isn’t exactly how Milkha was) when the rest of the look is right. There is a HUGE difference between just making Farhan muscular instead of slim and toned and the no-holds-barred ridiculousness that was JTHJ- even trying to compare the two in temrs of plausiblity is plain silly.
Besides, my comment was about the visual appeal of the poster, not how realistic it was. When even the biggest films like JTHJ (since you brought it up) have posters that look like amateurish cut-and-past photoshop jobs, it’s nice to see a poster that looks professionally made and well-composed.
Also, I have never claimed to be an auteur- I can’t really help it if you attribute qualities to me that I have never said I posessed, and then sarcastically fault me for not living up to these standards that you have inexplicably imposed on me.
relax amy–that was just in fun–and even though u wont admit, i do consider u an ‘auteur’ haha
“Besides, my comment was about the visual appeal of the poster, not how realistic it was. When even the biggest films like JTHJ ..”
thanx for outlining my own point on ‘relevance’ to the genre and setting…
Not condoning the JTHJ ‘cut copy paste’ jobs which agree were crap–
but mehras Milkha (due to the biopic genre, style, maker) needs to be scrutinised more on ‘realism’ criteria than ‘visual appeal’ (only) while in JTHJ, one can be a bit more ‘lenient’ on the ‘realism’ responsiibilty…
Alex, this is a POSTER and not a still from the film- it’s obvious that the image will be edited to make it look more cinematic. Since when were posters supposed to be the exact same as the film stills?! What’s the point of having a separate poster at all then? This is such a silly, pointless thing to nitpick at. It’s like saying that The Social Network is a useless film because it’s posters are edited using artsy filters, despite the fact that it based on a real story!
Next thing, you’ll be objecting to the font used since it isn’t rustic enough, and they should have made it look like it was hand-written.😛 Realism is not a pre-requisite for a poster- this is promotional art for a film, not photojournalism!
“but mehras Milkha (due to the biopic genre, style, maker) needs to be scrutinised more on ‘realism’ criteria than ‘visual appeal’ (only) while in JTHJ, one can be a bit more ‘lenient’ on the ‘realism’ responsiibilty”
Like I said, I think that visual appeal is more important that realism for a poster, irrespective of genre. And I am not idiotic enough to expect realism for JTHJ😛 I’ve watched and enjoyed other YRF-SRK romances like DDLJ despite their absolute lack of realism. All I wanted was a film with somewhat consistent internal logic and some semblance of sincerity/ authenticity- unfortunately this was not what the film delviered IMO. In any case, lack of realism was never my primary problem with JTHJ- the film had plenty of other more crucial flaws that deterred my enjoyment of the movie.
“the film had plenty of other more crucial flaws that deterred my enjoyment of the movie.”–i know i know amy
dont wanna go into that again…
yeah anushka should have also got a proper ‘liplock’ kiss..for the sake of ‘equal opportinuties’ hahaha.
maybe next time (or off camera)
i agree to your points there but the ‘nitpicking’ is dependent on the genre/ style and ‘ambitions’
A biopic and that too on an actual alive person will have different ‘realism’ expectations than a romantic escapist musical in ‘realism’–im sure u can get this point ha
As for the ‘nitpicking’–yeah when i get into it –i can really get picky but depends on the setting
plz read this again–about his ‘beard’ and ‘tone’ difference and even the difference between the previous (more authentic) pic https://satyamshot.wordpress.com/2012/12/01/image-from-bhaag-milka-bhaag/#comment-197899
*sigh* a poster is NOT the same thing as a picture from the film. They look different because…they ARE two completely different things? The picture is PART of the bio-pic, thus it’s relative authenticity. The poster is being used to PROMOTE the bio-pic, thus it’s primary need is to be eye-catching whilst conveying something about the movie in a visually pleasing form.
Would you object to the poster of Anushka Sharma in short-shorts in MKBKM / the woman in the revealing sari in GOW on account of the fact that they are inauthentic to the rural Indian mileau and that AK/VB carry a different set of expectations with them? This is just as silly!
good point Amy
IF this ‘altered’ look is not in the actual film, its tolerable and a reasonable compromise
but i suspect it will be in the film too..
farhan seems to be developing salmanesque ambitions in terms of biceps etc—i know the feeling
when one has slogged so hard in the gymn to get that definition/cut–one wants to flaunt it as much as possible and finds all excused to ‘show it off’
thats what actually end up happening…
as for your point about anushka in shorts–nope–i will never object-but also thats not a ‘biopic’ on a real person lol
yeah ive won the argument hahaha
yeah Amy–agree -this one is a much better poster
it seems they quickly saw my objections in the above post and corrected it quickly hahaha
btw did u read my objections over his ‘moslem -looking beard’, “trimmed beard-in-a-parlour” groomed look against the rustic/ungroomed reality if the character
In this setting it wasnt nitpicking, but imp bcos it was altering the whole point/premise in a biopic and converting it into a farhan akhtar–me-too-minisalman- narrative for the fans who go for salman movies on eid releases etc
in a way…would like your views on this point https://satyamshot.wordpress.com/2012/12/01/image-from-bhaag-milka-bhaag/#comment-197899
About your point of anushka in matru whatever–as i said it isnt a biopic and not on a real person and again shows why i have issues with vishal –hes neither here nor there
he wants us to take him seriously and then comes up with this ‘anushka coming out of pool’ with assets visible and asking what all to take off — i mean –what serious film maker is he ?
As for Gow and the revealing sari– i have no personal experience at all–but dont think it is as far fetched (and it wasnt a biopic)
And are revealing saris that rare–ive seen a few and not in rural settings but quite hep ones
have heard of women taking bath in the open and going around topless (forget revealing saris) in tribal/semitribal sreas–though these are anecdotal and have no confirmed experiences / data to support it